On one of his first jobs as a digital imaging technician, Justin Bergeron (now CEO of HD Pictures & Post) helped impress a commercial client who was hesitant to embrace HD technology. During the middle of the shoot, Bergeron overheard the client express dislike over the cyclorama’s color. The client was even considering interrupting the shoot and having it repainted, discussing with the assistant director the logistics and delays involved.
“At this point I interrupted them,” said Bergeron, “and said that because we were shooting HD with the Sony F900 I could use the electronics in the camera to change the color of the background without losing any time.”
They then gathered around the HD monitors as Bergeron demonstrated how, by using the cameras menus, he could achieve the exact hue right then and there.
“From that day on we shot spots on HD for the pharmaceutical company on a bi-monthly basis,” said Bergeron.
Lack of knowledge about the uses and potential of HD technology often fueled early resistance to HD production. But such was often overcome by hiring a digital imaging technician, or DIT, to help ease the transition from older technology.
ROLE OF THE DIT
The digital imaging technician, a relatively new position in the production world, came about with the advent of digital acquisition. In the late 90s, when increasingly prevalent HD equipment was still relatively new, many camera operators lacked the necessary know-how to use it. Rather than flounder with it on set, they hired technicians with production backgrounds and technical expertise.
These technicians learned how to operate HD cameras and monitors, ensuring proper function and acquiring the best image quality possible. Their duties include camera, monitor and driver software setup, advanced coloring and troubleshooting. In short, they are responsible for the technicalities in capturing a high-quality digital image that’s in line with the director’s vision.
The role of the DIT predates the common use of the term digital imaging technician, which became industry standard after the International Cinematographers Guild officially recognized the position. Even today they are sometimes referred to as HD engineers or HD technicians, or even simply as another camera assistant.
NECESSITY OR LUXURY
Not all HD production crews include a solely dedicated DIT. In smaller or independent productions, a crew member often takes on overlapping duties that include operator or director of photography. But some productions, such as multi-camera shoots with complex setups, still necessitate their use.
While not always essential, a DIT’s presence can bring significant advantages. Their abilities as onset colorists often prevent the need for expensive color timing in post. They can also offer advice on what equipment to purchase for a particular project, communicating early on with producers and directors about their technical needs. DIT’s also are responsible for ensuring that the equipment works properly and troubleshooting when it isn’t. And, during a complex shoot, the assistance of a technological expert can facilitate the production.
“To have the support of a DIT who can handle technical equipment issues and be a DP's second pair of eyes can be invaluable,” said Dan Coplan, who works as a cinematographer, DIT, and camera operator. “Doesn't mean I do them all at once but sometimes I'm just one and sometimes I'm all three.”
VARIETY OF BACKGROUNDS
There is no standard route to becoming a DIT. Many DIT’s come from a variety of production-related backgrounds ranging from broadcast engineering to cinematography. What they do have in common is a knack for new technology and a fast-paced work environment.
“DIT's are technology wizards so keeping up with the latest technologies and testing them in order to be prepared for any snafus on set is important training,” said Coplan.
Other helpful skills for a good DIT include communication, as they often must coordinate with a variety of crew members and cast, problem solving, as is often necessary in a hurry, resourcefulness, because when the answer is not apparent, the DIT must figure it out.
“There is so much new technology emerging every day that it's nearly impossible to stay on top of it all, but a good DIT, if he doesn't know the answer, knows how to find the answer,” said Coplan.
THE EVOLVING ROLE
According to Bergeron, the demand for the DIT has decreased since the early ‘90s, when Bergeron started. Back then, he was among the few who could use the equipment. The supply of DIT’s has also increased.
“More people are becoming familiar with the technology,” he said, of the reduced need for a DIT. Also, with the next generation of HD cameras being more like film cameras, many camera operators may find them easier to use, reducing the need for HD assistance.
However the specialized skills involved in this position will always be needed. And having that extra tech-savvy individual on set is often advantageous. But the trend seems to be the convergence of roles when possible.
“With the way things are changing—quickly and unpredictably—it's important for anyone to be able to wear different hats. It only makes you more valuable,” said Coplan. “As someone who is not only a camera operator, for example, but does Steadicam and understands technology as a DIT, that opens up more opportunities for work and potentially makes me worth more than someone who only operates.”
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